Cristina Graziani avidly scans images taken from glossy magazines and manipulates the various details with Photoshop to obtain ambiguous
pin-ups, winking beauties, worrying heroines. The work of digital
re-elaboration pushes these female characters to assume showy, artificial attributes as if they were the result of sophisticated plastic surgery or sumptuous make-up. Beings that have been “corrected,” redefined, who find themselves, not by chance, acting. It is as though they exist in the
fiction of a cinematographic set where the more reassuring and banal everyday is inextricably intertwined with the more gratuitous and
pervasive horror. Graziani seems to like the double narrative register (the inviting icon and pulp atmosphere, the dream and the nightmare). Perhaps it is for this reason that she paints the photographed scenes with the rigor and patience of a hyperrealist artist: even the language must become hybrid, by superimposing artificial processes and manual interventions,
virtual fantasies and real anxieties. In some ways the artist wants to show how it is how no longer possible to distinguish the most sanguinary delirium from the impassibility of the commonplace.
— Luigi Meneghelli

Selected solo exhibitions: 2002: Marella, Milan.
Selected solo exhibitions: 2001: Tirana Biennial 1; 1998: Lady D, Pio Monti, Rome; 1997: Aperto ’97, Trevi Flash Art Museum, Trevi, Italy; 1996: 1° Premio Trevi, Flash Art Museum, Trevi.